Major view
Db major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C (leading tone, pulls home)
- 4 = Gb (the note that leans on the 3rd)
Ahmet Can Dündar - Onsuz Aşk - Chord
Key Db major – Bb minor Chords Bbm, Ab, Fm Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Fm
Bbm
Düşüyordum sonsuza, yaşıyordum onsuz aşk
Ab Fm
Yapıp attım boşluğa, anılardan bir uçak
Bbm
Zor zor zor
Ab
Sensizlik karşımda, yalnızlıktan daha zor
Fm Bbm
Düşmezdim aslında, hissizlik cidden zor
Bbm Ab
Bir yabancı gördüm aynaya baktığımda
Fm BBm
Silemedin göz yaşlarım aktığında
Ab
Gece uyuyamıyorum sensiz yattığımda
Bbm
Lanet ettim her sabah kalktığımda
Bbm
Aynılar hepsi de aynılar
O eski seni gördüm güldü bana aynadan
Ab
Tükenmiş umutlar, küllenmiş anılar
Fm
Yalandan kadınlar sürekli değişik duygular
Bbm
Kaçarken uykular yörüngemde uydular haykırışı duydular ve
Ab Fm
Seni bana sordular, dedim anlamıyor, anlamı yok
Bbm
Düşüyordum sonsuza, yaşıyordum onsuz aşk
Ab Fm
Yapıp attım boşluğa, anılardan bir uçak
Bbm
Zor zor zor
Ab
Sensizlik karşımda, yalnızlıktan daha zor
Fm Bbm
Düşmezdim aslında, hissizlik cidden zor
End of song Play again?
Ahmet Can Dündar - Onsuz Aşk Tabs
NotesX
Harmony analysis
Ahmet Can Dündar – Onsuz Aşk: key and chord analysis
The song opens on Bbm and ends on Bbm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb minor side because it both starts and finishes on Bbm and Bbm is heard 11 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Db or to Bbm; comparing both readings is a practice of its own.
Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Db | Tonic — home | Db · F · Ab | — |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | — |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 7× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | — |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 8× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 11× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 11× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | — |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 7× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | — |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 8× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 3 different chords appear 26 times in total; 3 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×7
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×1
The move to watch is Fm → Bbm, heard 7 times. From the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
- Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
The song on the circle of fifths
- Played in the song — chord of the key
- Played — the minor's harmonic V or a secondary dominant
- Played — borrowed or outside chord
- Home region: IV–I–V and ii–vi–iii
Empty slices are chords the song doesn't use.
Capo and easier keys
With Db major shapes
- Capo 1 + C shapes
- Capo 4 + A shapes
- Capo 6 + G shapes
With Bb minor shapes
- Capo 1 + Am shapes
- Capo 6 + Em shapes
Easiest keys on guitar
- 1 semitone down · capo 1 keeps the original pitch
- 4 semitones up
The song's harmonic story
The opening Bbm lays a solid floor for everything that follows. The chords that keep coming back are Bbm, Ab, Fm; read them as vi–V–iii in Db or i–VII–v in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Bbm (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. It closes on Bbm, letting the Bbm side have the last word.
This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.
Ahmet Can Dündar - Onsuz Aşk Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Music: Batın Özden,Şaheser
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